• Super Admin
• 07 Mar, 2026

The transformation of Nigeria's music industry -- from a chaotic ecosystem of Alaba Market pirates to a global powerhouse courted by streaming giants -- has brought with it a sophisticated, yet brutal, form of warfare. It is no longer just about who has the loudest speakers or the most expensive jewellery; it is about who owns the 'soul' of the music, the intellectual property. When news broke that the early catalogue of Burna Boy, the 'African Giant' himself, was the subject of a million-dollar legal tug-of-war, the industry held its collective breath. A fresh look at the facts reveals that this is not merely a 'small misunderstanding' between brothers; it is a high-velocity collision between Aristokrat Records and 960 Music Group. For the entertainment elite and the 'Ogas at the top' of Nigeria's financial world, this case represents a critical test: can Nigeria's legal system handle the weight of the creative economy's complex financials, or will it buckle under the 'Nigerian factor' of delays and unfinished deals? In a 2024 transaction, Damini Ebunoluwa Ogulu (Burna Boy), through his imprint Spaceship Music, reportedly repurchased his early masters; foundational hits like 'Like to Party' and 'Tonight', from Aristokrat Records, the label that first launched him into relevance. However, 960 Music Group, an entity that owns a 40 percent stake in Aristokrat, alleges they were treated as ghosts in this deal. Based on legal filings, they claim the sale was a 'corner-corner' arrangement executed without their consent, board approval, or a single kobo of the proceeds hitting official company accounts. With a civil suit in Port Harcourt and a criminal case in Lagos against Aristokrat Records and its founder, Piriye Isokrari, the stage is set for a judicial reckoning that will define the rules of the game for every artist, label, and investor in the Afrobeats era. When the public hears 'Like to Party', they hear a timeless hit. Global investors and private equity firms, however, see a multi-million-dollar financial asset -- a 'crown jewel' that generates revenue every time it is licensed or streamed. This is precisely why such a case must not be left on the back burner. It is a defining 'make or mar' moment for our industry. The verdict will signal to the world whether capital invested in Nigerian entertainment is a secure bet or a reckless gamble. If our courts can protect these assets, they prove that Nigerian intellectual property is a viable investment that will yield fruit for decades to come. In the music world, masters are the Holy Grail. These songs are no longer just memories; they are high-yield financial instruments. Since 2020, music catalogues have become the 'new oil' in Nigeria. International majors like Sony and Warner are scouring the continent for assets with long-term stability. This is why 960 Music must fight so fiercely. If they own 40 per cent of the parent company, they own 40 per cent of the revenue stream for the next 70 years. By allegedly selling these assets without consent, Aristokrat didn't just sell old songs; they effectively 'vandalised' the equity value of 960's investment. Under the Companies and Allied Matters Act (CAMA) 2020, one cannot simply sell off the 'soul' of a company without shareholder approval. If a 40 per cent owner can be ignored in a transaction of this magnitude, why would any foreign investor bring their dollars to Nigeria? As the courts attempt to untangle the web, one must ask: is any headway being made? In Lagos, the criminal case (FHC/L/1087C/2025) against Aristokrat's founder for 'fraudulent conversion' is facing a 'magical disappearing act'. The Force Criminal Investigation Department (FCID), acting on a petition by 960 Music, has filed charges of fraudulent conversion and breach of fiduciary duty. The allegation is heavy: that the proceeds from the Burna Boy catalogue sale were diverted away from official accounts. Yet, on December 9, 2025, and again on February 10, 2026, the defendant was nowhere to be found. The defendant has missed two court dates, leading to an adjournment until April 20, 2026. The court was told the defendant had not been served or that the affidavit of service was filed late. For the Nigerian elite, this is a familiar, frustrating dance. If a high-profile case involving a global superstar's catalogue can be stalled by basic service-of-process issues, what hope does the average investor have? The world is watching to see if the next date will finally bring a breakthrough, because how does a matter get resolved when one party can choose to waste court time by simply not appearing? A protracted legal battle favours no one -- not the judiciary, not the talent (Damini Ogulu), and certainly not the defendants. The primary battleground for the ownership dispute however remains the Federal High Court in Port Harcourt (FHC/PH/CS/188/2024), with a hearing set for March 11, 2026. 960 Music Group's demand is clear: the 2024 sale to Spaceship Music must be declared null and void. Their argument is devastatingly simple: you cannot sell a house when the co-owner is in the other room and you haven't told them you're moving out. In early 2026, the court was informed that settlement negotiations had collapsed. This is significant. It suggests that while one party may have been looking for a middle ground (my money is on 960 Music), the 'disappearing parties' must now brace for a judgment. The questions of corporate governance -- whether Piriye Isokrari had the legal authority to sign away the company's most valuable asset without a resolution -- must now be answered by the bench. If the court finds the sale was ultra vires (beyond legal power), Spaceship Music might be forced to return the masters or re-negotiate at a higher valuation. Whatever the outcome, this battle is too important for any side to 'play hookey'. For the sake of our beloved Afrobeats, every party must face the bench to ensure that when the precedent is set, it is set right. Source: https://independent.ng/burna-boys-masters-is-nigerias-legal-system-tough-enough-for-the-new-music-economy/